






Mom’s Dressing Table
Stainless steel, Reclaimed Oak, Rusted Iron
L130 x W40 x H160 cm | L51 x W16 x H63 inch













The exhibition also reflected its concept through its openness to sharing space and collaborating with other artists. Over a span of 6 weeks, the space served as a hosting venue offering a variety of programs that included video screenings (curated by Irena Popiashvili), film screenings (curated by Salome Potskhverashvili), and experimental theater performance (presented by David Khorbaladze).
The exhibition became a platform for different communities to gather, sharing diverse perspectives and creative expressions, all united by a common desire to start dialogue, exchange ideas, and inspire solidarity, which are powerful forms of resistance.
01
Video Screening
Curated by Irena Popiashvili

Artur Zmijewski
Single channel video, 26:30 min.
TMH, 2007
Hamlet Hovsepyan
Untitled
1976, single-channel video on monitor, 04:30 min.
Vyacheslav Akhunov
Blind Alley
2007, single-channel video on monitor, 09:00 min.
Maja Bajevic
How Do You Want To Be Governed
2009, single-channel video on monitor, 10:40 min.
Michel Auder
’68 in ’78, (video still)
May 1978
Francis Alÿs
Video, 5:35 min
Siren, Ukraine, May 2023
02
Film Screening
Curated by Salome Potskverashvili

Conspiracy Bar hosted a three-week film series, held on Thursday evenings, exploring revolution, civil unrest, and internal conflict. The films examined propaganda and misinformation's role in destabilizing societies. Each screening was followed by a moderated discussion, encouraging critical engagement with these themes.
Chris Marker
Documentary - Grin Without a Cat
1977 / 1993
Peter Watkins
Docudrama - The War Game
1966
Tekla Aslanishvili
Experimental documentary - A State in a State
2022
01

Dato Khorbaladze’s discovery of a Facebook post titled "How to Act if You Were Buried Alive" served as the inspiration for a unique performance concept. The post, featuring an image of a person in a coffin and absurd instructions for escaping burial, was incorporated into the play UNMEMORY and later revisited in a voice performance.
In this performance, a fixed voice repeated the instructions in a 40-minute loop, evolving as it echoed with recordings. Over time, the repetition built momentum, transforming into a polyphonic system that ultimately disintegrated into noise. This sonic journey disrupted the balance between power and resistance, immersing the audience in rhythmic bursts of controlled anger.






















